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Marx Girl
Ben We met five years ago when I was her family’s bodyguard. Our time together was a secret. Her touch was different…. addictive. I fell hard and fast and then I left. I’ve thought about her every day since. As I sit here at a wedding watching her with her new boyfriend……I have regrets. Regrets for the past things I’ve done. But I won’t regret what I’m about to do. I need her beneath me. I’m having her tonight. Bridget. It’s the little things I remember about Ben. His smile and the icing sugar he had on his pancakes. What started out as private jokes between us soon turned into private visits. The quiet man at the back of the crowd. His dry wit made me laugh. His dominant body ruined me forever He never told me he loved me, until he was leaving. That was five years ago. Things are looking up for me. I met someone, someone special. But Ben is back. I find myself thinking about him ......more than I should. No matter how hard my heart is freefalling from my chest. I will never go back there. You only get to break my heart once. This is a stand alone, Contemporary romance.
Marx Girl
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Balenciaga and His Legacy
Overzicht van de creaties uit de Texas fashion collectie van de Spaanse modeontwerper (1895-1972).
Time, Science and the Critique of Technological Reason
This festschrift commemorates the legacy of UK-based Portuguese sociologist Hermínio Martins (1934-2015). It introduces Martins’ wide-ranging contributions to the social sciences, encompassing seminal works in the fields of philosophy and social theory, historical and political sociology, studies of science and technology, and Luso-Brazilian studies, among others. The book features an in-depth interview with Martins, short memoirs, and twelve chapters addressing topics that were central to his intellectual and political interests. Among those that stand out are his critique of Thomas Kuhn’s theory of scientific revolutions, his work on the significance of time in social theory and the interweaving of techno-scientific developments and socio-cultural transformations, including the impact of communication and digital technologies, and of market-led eugenics. Other themes covered are Martins’ work on patrimonialism and social development in Portugal and Brazil, and his analysis of the state of the social sciences in Portugal, which reflects his highly critical appraisal of the ongoing marketization andneoliberalization of academic life and institutions worldwide.
Bernini and the Birth of Baroque Portrait Sculpture
Gian Lorenzo Bernini was the greatest sculptor of the Baroque period, and yet—surprisingly—there has never before been a major exhibition of his sculpture in North America. Bernini and the Birth of Baroque Portrait Sculpture showcases portrait sculptures from all phases of the artist’s long career, from the very early Antonio Coppola of 1612 to Clement X of about 1676, one of his last completed works. Bernini’s portrait busts were masterpieces of technical virtuosity; at the same time, they revealed a new interest in psychological depth. Bernini’s ability to capture the essential character of his subjects was unmatched and had a profound influence on other leading sculptors of his day, such as Alessandro Algardi, Giuliano Finelli, and Francesco Mochi. Bernini and the Birth of Baroque Portrait Sculpture is a groundbreaking study that features drawings and paintings by Bernini and his contemporaries. Together they demonstrate not only the range, skill, and acuity of these masters of Baroque portraiture but also the interrelationship of the arts in seventeenth-century Rome.
Jerry Bywaters, Interpreter of the Southwest
In the 1930s and 1940s, along with other members of a loosely affiliated group of artists known as the Dallas Nine, Jerry Bywaters pioneered the style later termed “Lone Star Regionalism.” Working with equal ability in oil, watercolor, tempera, and pastel, Bywaters portrayed the natural world, towns, and people of Arizona, Colorado, New Mexico, and West Texas. This stunning retrospective volume of Bywaters’s paintings—more than forty of them arranged in a full-color gallery—vividly interprets the American Southwest. Underlying all of Bywaters’s work was some perspective on the interaction of people and the land. With character always the central feature, his portraiture featured ...
Pictorial Narrative in the Romanesque Cloister
Praised as paradisiacal or denounced as impious fantasy, the sculpture of Romanesque cloisters played a powerful role in medieval monastic life. This book demonstrates how sculpture in the cloister, the physical and spiritual heart of the religious foundation, could be shrewdly configured to articulate the most influential ideals and experiences of its individual community. Taking as its focus the visually rich, highly organized narrative programs of three twelfth-century Spanish cloisters, this book reveals the power of such imagery to reflect and reinforce the social and spiritual preoccupations of its age.
Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910
The promotion of classicism in the visual arts in late eighteenth and nineteenth-century Latin America and the need to “revive” buen gusto (good taste) are the themes of this collection of essays. The contributors provide new insights into neoclassicism and buen gusto as cultural, not just visual, phenomena in the late colonial and early national periods and promote new approaches to the study of Latin American art history and visual culture. The essays examine neoclassical visual culture from assorted perspectives. They consider how classicism was imposed, promoted, adapted, negotiated, and contested in myriad social, political, economic, cultural, and temporal situations. Case studies show such motivations as the desire to impose imperial authority, to fashion the nationalist self, and to form and maintain new social and cultural ideologies. The adaptation of classicism and buen gusto in the Americas was further shaped by local factors, including the realities of place and the influence of established visual and material traditions.
The Late Paintings of Vel?uez
The startling conclusion of The Late Paintings of Vel?uez is that Diego Vel?uez painted two of his most famous works, The Spinners and Las Meninas, as theoretically informed manifestos of painterly brushwork. As a pair, Giles Knox argues, the two paintings form a learned retort to the prevailing critical disdain for the painterly. Knox presents a Vel?uez who was much more aware of the art theory of his era than previously acknowledged, leading him to reinterpret Las Meninas and The Spinners as representing together a polemically charged celebration of the "handedness" of painting. Knox removes Vel?uez from his Iberian isolation and seeks to recover his highly self-conscious attempt to carve ...
